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Falkow is known as the father of the field of molecular microbial pathogenesis. [1] He formulated molecular Koch's postulates, which have guided the study of the microbial determinants of infectious diseases since the late 1980s. [2] Falkow spent over 50 years uncovering molecular mechanisms of how bacteria cause disease and how to disarm them. [1]
As per Falkow's original descriptions, the three postulates are: [1] "The phenotype or property under investigation should be associated with pathogenic members of a genus or pathogenic strains of a species. Specific inactivation of the gene(s) associated with the suspected virulence trait should lead to a measurable loss in pathogenicity or ...
In 1988, microbiologist Stanley Falkow developed a set of three Molecular Koch's postulates for identifying the microbial genes encoding virulence factors. First, the phenotype of a disease symptom must be associated with a specific genotype only found in pathogenic strains. Second, that symptom should not be present when the associated gene is ...
The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths , the most suitable chord to precede the I chord is a V chord.
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". [2] A harmonized scale can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord. [3]
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest.
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.
Still, seven of that song's fourteen chords, including the tonic, are major sevenths or ninths, demonstrating the primacy of that chord type. [6] Pieces which feature prominent major seventh chords include: Tadd Dameron's "Lady Bird", [7] and "This Guy's in Love with You", [8] by Burt Bacharach and Hal David.